The common refrain among those who attend Sharon Wauchob's shows is how such a consistently talented designer doesn't attract a wider following. It's the type of comment, as much compliment as question, that is made without expectation of an explanation. And the only consolation, really, is that Wauchob not only continues to do what she does best—thoughtfully engineered garments—but she continues to do them better.

Few others rival her in the realm of lace. Even those in attendance might have missed the fact that so many of the delicate fabrics—the ones that look like openwork tracery or pointillistic patterns—were versions of French Solstiss lace, each one custom-developed from traditional technique. Yet Wauchob obviously knows her collections would be one-note if she did lace and little else, so this season she applied similar rigor to "collaged" fur gilets, suede skirts ornamented with waves of hand-stitched metallic thread, and printed pony coats, layering them so that the eye barely had a chance to register all the detail. Several pieces, including the ivory coat that opened the show, featured intricate embroidery that gave a subtle impression of embossing. The hypothetical Instagram caption: Investment pieces needn't be boring.

Backstage, the Irish designer mentioned how the collection became increasingly meaningful as she looked back at her arrival in Paris over a decade ago, and how the city has since shaped her view of femininity. "What's interesting for me is taking the things that are really French and seeing what we can do with them," she said, pointing out that icons Charlotte Rampling and Loulou de la Falaise were born in the U.K. "This is for all the girls," she motioned over to a sumptuous sheared velvet tuxedo. But it affirmed what her admirers have known all along.